No aniversário de 75 anos de criação da agência Magnum de fotografia, o escritor e cartunista francês Jean-David Morvan acaba de lançar o álbum em quadrinhos Magnum Generation(s), um mergulho ilustrado da fabulosa história de um mito jornalístico. Morvan ficou cinco anos examinando documentos e leu 30 livros para compilar as histórias de Magnum Generation(s) (Editions Caurette, 248 páginas, 30 euros). O álbum mistura ilustrações (feitas pelos artistas Rafael Ortiz, Scie Tronc e Arnaud Locquet) e 73 imagens reais que lhes dão suporte, inventariando as coberturas épicas em territórios conflituosos por aqueles fotógrafos fabulosos.

Morvan já tinha uma colaboração prévia com a agência Magnum, a partir da qual produziu livros sobre o desembarque dos aliados na Normandia, registrado pelo lendário Robert Capa, até a luta entre Muhamad Ali e George Foreman, fotografada pelo iraniano Abbas Attar no Kinshasa, até chegar ao 11 de Setembro e sua documentação por Steve McCurry em Nova York. Mas a nova empreitada é muito mais ambiciosa: contar toda a história da agência a partir de entrevistas, pesquisa e exame de documentação. Uma reportagem de Anna Samson no site da própria Magnum, que contém uma entrevista de Morvan, é a base do meu texto a seguir.

O álbum Magnum Génération(s) se inicia em 1954, reproduzindo em quadrinhos uma conversa entre Robert Capa e John G. Morris, o primeiro editor executivo da agência, na qual eles discutem a decisão de Capa de retornar à reportagem de guerra e cobrir o conflito na Indochina, hoje conhecida como Vietnã. “Se suas fotos não são boas o suficiente, é porque você não chegou perto o suficiente”, dizia Capa. Na sequência seguinte, Capa é visto já em campo, buscando uma história, e o quadrinho final termina com o artista pisando em uma mina terrestre e morrendo ali.

Segue-se então um breve obituário de Endre Ernö Friedmann (o nome de batismo de Robert Capa, nascido em Budapeste, Hungria, em 1913). A partir desse ponto, o livro introduz cada personagem chave da Magnum mostrando como eles receberam a notícia da morte de Capa. David Chim Seymour (um dos quatro lendários fundadores da agência) é quem conta a notícia aos colegas da Magnum em Nova York. A princípio, custa-lhes acreditar, pensam que pode ter sido uma confusão entre Capa e outro fotógrafo da agência, Werner Bischof, que morrera em um acidente na estrada, no Peru, nove dias antes.

A história então remonta a saga de Bischof em sua derradeira investigação pelas rotas dos Andes peruanos, revisitando a narrativa de seus derradeiros dias e evocando os trabalhos finais do fotógrafo, o que inclui uma foto premiada de um garoto tocando uma flauta enquanto caminha em direção a Cuzco.

Nessa gangorra, os fotógrafos vão virando personagens, suas histórias vão sendo reencenadas pela habilidade do artista e pela memória de seus sobreviventes. A certa altura, outra lenda da Magnum, Henri Cartier-Bresson, conta a Capa como ele enterrou sua câmera Leica em uma fazenda na França alguns minutos antes de ser levado como prisioneiro de guerra pelos alemães, e como ele a escavou tempos depois após escapar de um campo de trabalhos forçados em Stuttgart em 1943, para recuperar as fotos.

Capa é o centro de tudo, não sem razão. A juventude de Capa na Hungria, na qual ele foi preso pelo regime militar antissemita, sua ida a Berlim para prosseguir os estudos, o início do trabalho como assistente de Simon Guttmann, fundador da agência Dephot, que o enviou para cobrir um discurso de Leon Trotsky para estudantes socialistas em Copenhague, na Dinamarca, em 1932. As ilustrações então cedem espaço para as próprias fotos da pesquisa de Morvan, com um página inteira do trabalho de Capa que foi publicado pela Der Welt Spiegel.

A ascensão de Hitler na Alemanha levou Guttmann a aconselhar Capa a deixar Berlim. Ele vai a Paris, trabalha para revistas como a Vu e lamenta que suas fotos não recebem crédito. Ele então conhece Gerta Pohorylle, conhecida profissionalmente como Gerda Taro, por quem se apaixona. Gerda Taro se torna agente do fotógrafo, inventa seu pseudônimo, sua falsa origem norte-americana e passa a promover seu trabalho. Nas andanças pelo café Le Dôme, ele encontra outros profissionais da fotografia e embarca para a Espanha, para cobrir a Guerra Civil Espanhola. Ali, conhece o escritor Ernest Hemingway em missão como repórter de guerra.

Nessa gangorra entre as ilustrações e as fotografias em preto e branco, Morvan conta como Gerda Taro é morta enquanto cobria a Batalha de Brunete, a oeste de Madri, em 1937, e remonta a procissão de seu funeral, em Paris, acompanhado por um destroçado Capa. Gerda Taro foi a primeira mulher fotojornalista a morrer durante uma cobertura de guerra. “Para mim, Gerda é o fantasma da Magnum. Ela inventou Capa e o tornou famoso, e o seu papel é extremamente importante”, diz o cartunista Morvan.

Foi em uma modesta mesa de cozinha que Capa explicou sua ideia inicial de criar uma agência de fotografia na qual os fotógrafos possuíssem os direitos de seu trabalho e pudessem escrever sobre seus registros fotográficos. Em 1947, o ano da exposição de Cartier-Bresson no Museum of Modern Art, em Nova York, que a agência estabeleceu seus escritórios em Paris e Nova York, com Chim como presidente.

Morvan diz que todos os arquivos da Magnum lhes foram abertos para sua pesquisa e trabalho. Um único fotógrafo da Magnum daquela fase pioneira não está presente na publicação com seu trabalho: George Rodger, que cobriu a Batalha de Nápoles em 1943 e cujas fotos pertencem à revista Life. A publicação não autorizou senão sob pesado pagamento. ”Isso nos traz até a razão pela qual a Magnum foi criada – para os fotógrafos serem livres e possuírem suas próprias fotos”, disse o cartunista. Um dos grandes fotógrafos que trabalhariam para a Magnum, mais adiante, foi o brasileiro Sebastião Salgado.

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